La these propose l’analyse d’un ensemble d’œuvres peruviennes ecrites pendant l’epoque moderniste que nous situons de 1880 a 1920. Notre recherche est centree sur la prose de Manuel Gonzalez Prada (1844-1918), Clemente Palma (1872-1946) et Ventura Garcia Calderon (1886-1959). Nous nous efforcons de definir les modalites narratives propres au modernisme, les specificites des formes breves, les nouvelles, les essais et les chroniques litteraires, tous ces types de recit qui furent tres repandus dans la presse peruvienne. Dans un premier temps, nous analysons la validite d’un discours de la modernite et ses liens avec le discours du modernisme en ce qui concerne la litterature peruvienne. Le corpus est varie aussi bien pour sa thematique que du point de vue formel. Nous nous interrogeons sur le role de la critique litteraire peruvienne qui a eu tendance a minimiser l’importance de la prose moderniste, en la considerant comme esthetisante et superficielle. Dans un deuxieme temps, nous essayons de caracteriser la prose breve : l’essai, la nouvelle et la chronique, comme dependant etroitement du developpement de la presse latino-americaine. La presse continentale a ete le moyen de transferer les modeles de la modernite nes en Europe. Enfin, dans la troisieme partie, nous analysons les textes de Gonzalez Prada, de Palma et de Garcia Calderon, en relevant les leitmotivs presents dans les nouvelles et les chroniques, les themes de la maladie, la ville et sa modernisation, la femme fatale, allegorie d’une modernite qui se distingue par ses paradoxes et insatisfactions.

La prose moderniste péruvienne et la vision de la modernité chez Manuel González Prada, Clemente Palma et Ventura García Calderón

The costumbrista sketch By any account the history of nineteenth-century Spanish America appears as a relentless panorama of upheaval. After gaining independence from Spain, the former colonies endured a long process of ideological and territorial fragmentation. Frail republics emerged everywhere, soon to be split up by the vicious struggles caused by caudillos and local bosses. Quite suddenly this conglomeration of independent territories faced the need to view itself as a community of nations, linked by similar institutions and a common history. Yet in those initial days of turmoil they did not find it easy to think in terms of covenants and solidarity. Chile and Brazil managed to consolidate relatively stable political systems but such was not the case in Argentina, Colombia, Mexico, and other new republics. Cuba and Puerto Rico were still lagging behind as colonial possessions. The disruptions set in motion by independence were aggravated by the territorial ambitions of foreign powers. In 1833 England occupied the Malvinas Islands; in the 1840s the United States divested Mexico of half its territory and in the early 1860s France sought to control what was left of the impoverished Mexican republic. Predictably, the widespread turbulence reigning in nineteenth-century Spanish America is reflected in the political discourse and literary output of that period. The early novels, and, above all, the massive flow of texts produced by the costumbristas offer striking descriptions of societies besieged by uncertainties and political violence. The costumbristas practiced “the sketch of customs and manners.”

The brief narrative in Spanish America: 1835–1915

https://www.jstor.org/stable/info/40356456

Bibliografia de y sobre

Los objetivos de este trabajo son, en primer lugar, proponer un espacio de geografias literarias en Ecuador, para uso turistico. En segundo lugar, determinar los espacios y paisajes literarios partiendo de la memoria social literaria, constituyendo asi un rescate y preservacion de la misma. En ultimo lugar, desarrollar un analisis literario en el contexto del realismo social en Ecuador

Turismo literario en el realismo social del Ecuador

This article intends to be an approach the gallery of Borgesian characters that work as destroyers of the individual identity within their social frame. Also, they help to ground the metaliterary question of the nature of their own discursive function through the over-making of their characterization. These different 'villains' are shaped as an inexhaustible denominalist spiral based on structural wiles and the relentless elocutive imprecision of Borges, which is, generally a result of the genetic link between essay and fiction.

Thomas O. Bente

Papers

El cuento hispanoamericano